3 Primary Colors

The color wheel chart you can buy in the shops

today was developed mainly by painters from the
18th century onward. It starts with 3 primary
colors: yellow, red, and blue.
These three are taken as the basis for mixing all
other colors. If you mix these primary colors in
equal parts, you'll get a neutral color, usually a
murky gray (it depends on the pigments you use).
(By the way, if you're currently about to start a
home decor project and want to buy a color mixing
wheel, you may want to read this review of a
commercially available, basic color wheel template.)
When you mix any
two primary colors, you get the secondary
colors: yellow and blue produce green, blue and
red produce purple, red and yellow
produce orange.
This leaves each primary color with a
complementary color (mixed from the other
two primaries). Blue/orange, red/green, and
yellow/purple are complementary to each
other.
Obviously, the fun really starts
when you go on mixing
primary and secondary colors.
This gives you all the fabulous hues around the color wheel,
from greenish blues to yellowish greens.
(These are sometimes called 'tertiary' colors, but the term is
not used in the same way everywhere.)
When you align the 3 primary colors with the secondary and
'tertiary' colors around the color wheel chart, the
complementary colors always sit directly opposite each other.
Each pair complement (= 'complete') each other to
produce a neutral color. Mix two complementary colors, and
you'll get the old murky gray.

Well, that was easy. But don't assume we've got the color wheel handled yet ...
here comes the four-color primary model to spoil it all.

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Four Primary Colors

Ewald Hering (1834-1918, a German physiologist
and no relation of mine, came up with this four-
color primary model in 1878.
His system is very close to the way the human eye
actually sees color, and it is so influential in the
color/paint industries today that I'm presenting
it here.
You see that green has now joined the primary
colors in the basic color wheel.
This throws the old order of complementary colors
out of whack: the 'complementary' of purple
(opposite on the color wheel chart) is now lime
green, and the 'complementary' of orange is
turquoise! (Much prettier if you ask me!)
Click to learn more about the thinking behind a primary color wheel.
Now what? I say, let's make it even more complicated:

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'Cool' vs. 'Warm' Colors

Almost all people find some colors 'warm' and

other colors 'cool'. Generally, the 'warm' ones are
seen as related to the yellow/orange side of the
color wheel chart, and the 'cool' ones to the
blue/green side (this is independent of how many
primary colors you're rooting for).
However, it has also long been argued that there
are 'cool' yellows and even 'warm' blues. Have
a look at the graphic to the right and judge for
yourself: Is one panel of colors 'warmer' than the
other? (I do hope the colors come out well on your
computer screen - it's always a bit of a gamble!)
If you can see the difference between cool and
warm colors here, then the logical next question
is ...
... how can there be 'warm' blues, if blue in
itself is a 'cool' color?
The 4-primary color wheel chart shows how this works. On Hering's color wheel
template, every color family has a 'cool' and a 'warm' side:
• Cool yellow has a bit of green in it, warm
yellow tends toward red.
• Cool red looks a bit bluish, warm red has a
yellowish cast.
• Cool green has a blue bias, warm green a
hint of yellow.
• Cool blue looks a bit green behind the gills,
and warm blue has a blush.
(To learn more about warm and cool colors, click here!)

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Use a Basic Color Wheel Chart

So where does this leave us?

A color wheel template is nice for learning about color ...
... but it obviously don't give us hard and fast rules for using color.
There are several ways you can utilize a basic color wheel chart. If, for example,
you need a new color to enliven an existing color scheme, the color wheel can
help you do that:
• Firstly, you could use small 'sparks' of a
complementary color in an environment that
is dominated by its opposite (for example, pick
an orangey red to liven up a blue-dominated
room. You could do this by using red-orange
accessories: flowers, patterns with a bit of red-
orange, pictures, and so on.)

• Secondly, you could literally stir a bit of

orangey-red paint (or pigment) directly into
blue paint. This would help take any 'fake'
 edge off the paint and give it more
complexity and depth.

• Thirdly, a basic color wheel chart can give you

ideas for monochromatic and analogous color schemes
that tend to combine hues from the same or
adjacent color families (like bluish and
yellowish greens, reddish and bluish
purples...).

However, most basic color wheel charts contain only saturated and grayed
colors - none of the subtle hues that come from mixing colors with not-quite-
neutral 'neutrals'.
In other words, it tells you a lot about mixing primary colors, but almost nothing
about all the (lighter) tints and (darker) shades of these hues that make home
decorating with color so interesting.

Lose The Color Wheel Chart

The usefulness of a basic color wheel chart is

limited. How we perceive color depends on
many things the color wheel forgets to
mention:
1. The human eye. None of us sees colors in
exactly the same way as someone else.
2. The surrounding colors. For example, a
chalky, 'period' white will look dirty when set
against a modern 'clean' white, but soft and
pleasing when combined with dusky pastels.
3. The surface. Glossy paint can make a light
color look lighter and a dark color appear
darker. A textured surface adds subtle shadow patterns to the color and makes it
look darker. Linen, wool and silk give deeper, more complex hues of a color than
cotton and most synthetics.
4. The light. Colors will look very different under different lighting. Therefore,
before you buy any paint or large amounts of decorating fabric, test it
thoroughly in the room where you want to use it:
• in bright sunlight,

• on a gray day,

• in the morning/afternoon/evening,

• under all the artificial lighting you are going to

use in the room.

There. I think this is all you need to know about the basic color wheel chart (or
rather, the color wheel charts).
For more information about the Color Wheel Chart and about mixing primary
colors, try these pages:
 Color Basics

When talking about color, everything revolves around the color wheel chart. It tells us
how the colors works, and what are they made of.

• We have three primary colors: yellow, red and blue. They are powerful colors, too
powerful to be used on a large surface such as a wall.
• Orange, green and purple are secondary colors. They are formed by combining two
primary colors. Notice they are not as powerful, or in other words, less strong than the
primaries.
• Finally they are six tertiary colors which is a primary color combined with the
secondary color next to it. These are turquoise(green and blue), lime green(yellow and
green), crimson(red and violet), red-orange(red and orange), yellow-orange( yellow and
orange), blue-violet(violet and blue).
 In color theory you will find these terms:

• A hue is the actual color with its qualities of yelowness and blueness. Intensity is the
degree of purity, or saturation of the color.The more intense a color, the more of the
pure color is added.
• A tint is a color mixed with white. The more white in a color the lighter is the value of it.
• A shade is a color mixed with black. The more black is added to the color, the darker is
the color's value.
• A tone is color mixed with grey.
• Related colors are located one next to the other on the color wheel chart: like yellow
and orange.
• Complementary colors are opposite to each other on the color wheel. An example
of complementary colors is red and green.
• Neutral colors are grey, white and black. beige and cream are often considered part of
neutrals.
Sometimes colors are refered to as:
○ Warm colors - these are yellows, oranges and reds. They convey energy, and will
induce a cozy feeling, having a warm psycological effect on us.
○ Cool colors - they are blues, greens and violet. The have a calming effect on us,
and convey a relaxed mood.

Keep in mind that in almost all cases, when choosing a color scheme, all colors are
altered and combined to soften their impact and create a mood.

Monochromatic or Complementary? Other Color Schemes

Once you understand the color wheel chart and see how different color combination are
formed, you can make your own decorating scheme, using one or more colors.
Generally speaking you can have a monochromatic scheme, or one comprised of
complementary colors.

• Monochromatic schemes(or single-color schemes) use one color and its variations for
intensity and values. Neutrals are also considered part of monochromatic color
schemes. Using this scheme, rooms look unified; to create even more interest, it's good
to use some contrast.
• In Harmonious Schemes, colors lie on the same side of the color wheel chart, hence
the name "harmonious". Yellows and oranges, or greens and blues are two examples of
 harmonious combinations.
A room painted in harmonious warm colors: red and gold, can make you feel more
relaxed; a small room finished in cool harmonious colors can make it feel more
spacious.
• Creating a room with complementary colors, is one of the hardest decorative
challenges. To make sure they will armonize fine, paint first the largest areas in your
chosen hue. One of the complimentaries can be lightened while the other darkened, so
the overall tone is varied.
Other color schemes using in interior decor are:
• Analogous schemes(or related color schemes) bring colors located one beside each
other on the color wheel. Even though this scheme is easy enough to acomplish, to
avoid a flat overall room, use one or two light dominant colors and for the third one
choose a darker shade as accents.
An example of related color scheme would be blue, blue-violet and blue-green.
• Triadic color schemes as the name says, this scheme uses three colors(hues) all at
the same distance one from another on the color chart.
An example of triadic scheme is yellow, red and blue. Because they are unrelated, in
order to avoid a harsh overall effect, use their tints and shades.

Primary Colour Wheel Chart

The three primary (or pigment) colors are the three colors in the chart that cannot
be created by mixing any other colors together. The primary colors are red, blue
and yellow. All other colors are derived from these three colors.The following
primary, secondary and tertiary color wheels should help you.
 Secondary Colour Wheel Chart

The secondary color wheel chart comprising of yellow, orange, red, purple, blue,
green contains colors formed by mixing together the three primary (or pigment)
colors.

Tertiary Colour Wheel Chart

The tertiary color wheel chart is made up of colors created by mixing a primary
(or pigment) color and secondary color together. Tertiary Colors are most
commonly given a two word name such as yellow-orange, red-purple, red-orange,
blue-green, blue-purple and yellow-green.

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Color Theory Lesson: The Three Primary Colors

The three primary colors in the corners mix to produce the three secondary colors.
Image: ©2007 Marion Boddy-Evans. Licensed to About.com, Inc.

In color mixing for painting, the fundamental rule is that there are three colors that
cannot be made by mixing other colors together. These three, red, blue, and yellow,
are known as the primary colors.

What Happens When You Mix Primary Colors?

If you mix two primary colors together, you create what is called a secondary color.
Mixing blue and red creates purple; red and yellow make orange; yellow and blue
make green. The exact hue of the secondary color you've mixed depends on which
red, blue, or yellow you use and the proportions in which you mix them. If you mix
three primary colors together, you get a tertiary color.

What About Black and White?

Black and white can also not be made by mixing together other colors, but as they
aren't used in color mixing to create colors, they get excluded from color mixing
theory. If you add white to a color you lighten it and if you add black you darken it
(though some painters don't use black at all, see Color Mixing Lesson: Black and
White).

Aren't There Different Blues, Reds, and Yellows?

Yes, you can buy various different blues, reds, and yellows. For example, blues include
cobalt blue, cerulean blue, ultramarine, monestial blue, and Prussian blue. Reds
include alizarin crimson or cadmium red, and yellows cadmium yellow medium,
cadmium yellow light, or lemon yellow. These are all primary colors, just different
versions.

Which Specific Primary Colors Should You Use?

It's not a question of there being a right or wrong primary to use, but rather that each
blue, red, and yellow is different, and produces a different result when mixed. Each
pair of primaries will produce something different, sometimes only subtly different.

Get Started with the Color Theory Triangle

Print out Color Mixing Triangle Worksheet and paint it in. It's color mixing at its most
basic, the first step on an journey with color.
 Primary Colors

Almost all visible colors can be obtained by the additive color mixing of three
colors that are in widely spaced regions of the visible spectrum. If the three colors
of light can be mixed to produce white, they are called primary colors and the
standard additive primary colors are red, green and blue.
Two colors that produce white when added together are called complementary.
The color complementary to a primary color is called a secondary color. The
complementary or secondary colors for red, green and blue are cyan, magenta and
yellow respectively. These three colors are often referred to as the subtractive
primary colors. When the three are combined in subtractive color mixing, they
produce black.

What is a monochromatic color scheme?

From Apply Now, former About.com Guide

Filed In:
1. Elements of Decor
2. > Color in Decor
 3. > FAQs on Color

A variety of blue hues create a monochromatic color scheme of blues.

Photo C. Nafie

Question: What is a monochromatic color scheme?

Answer: A monochromatic color scheme uses a single color on most every room
surface. In this type of scheme, various darker shades, grayer tones, and paler tints of
the main color may be included in the palette. In addition, the one color is often paired
with white or another neutral.

For example, a monochromatic room in blue might use single shade of blue paired
with white. Yet it might also include dark blue upholstery fabric, pale blue walls,
medium blue draperies, and a patterned area rug that includes both blue anjd white.
The window and door trim as well as the ceiling might be painted in white.

More Interior Decorating Q&A

The neutral colors of black, white, silver, gray, and brown make good backgrounds,
serve to unify diverse color palettes, and also often stand alone as the only or primary
focus of a design.

Neutral colors help to put the focus on other colors or serve to tone down colors that
might otherwise be overpowering on their own. To some extent blacks, browns, tans,
golds, and beige colors are considered warm. While white, ivory, silver, and gray are
somewhat cooler colors. Yet these warm and cool attributes are flexible and more
subtle than that of reds or blues.
Question: What is a neutral color?

Answer:

Neutral usually means without color. Neutral colors such as beige, ivory, taupe,
black, gray, and white appear to be without color, and yet in many applications these
hues often have undertones of color.

Be aware of these underlying tones as you match colors or choose paint. For example,
beige might have an undertone of pink or tan or gold. White might be slightly ivory,
yellow, bluish, or peachy.

COMPOSITION & the

ELEMENTS of VISUAL
DESIGN

© R. Berdan 20/01/2004

Many photographers on purchasing a new

camera are preoccupied with learning its
various features and controls and no
doubt, this is important in obtaining
correctly exposed images and an
appropriate depth of field. However, once
the basic operation of the camera is
mastered, one needs to direct their
attention to seeing and composing
effective images. Effective images are
those that command attention and
communicate some feeling to an
audience. Capturing a "feeling" and your
viewers' attention is a demanding task
that requires practice, experimentation
and study. Studying the basic elements of
visual design and understanding how they
work will help new photographers improve
their composition, but simply following
rules does not guarantee success.
Furthermore, how an audience responds
to an image depends on their past
experiences (memory), interests, and
what it is that they are looking for. This is
why the same picture often receives a
variety of responses from different
viewers. To create effective images a
photographer must understand the way
people respond to various kinds of visual
organization. This involves learning the
vocabulary of design, viewing examples of
artwork that utilize effective design
elements, and actively implementing
components of design into the process of
photography.

Line
A line represents a "path" between two
points. A line can be straight, curved,
vertical, horizontal, diagonal, or zigzag.
Lines imply motion and suggest direction
or orientation. A line can also be implied,
that is filled in by the mind when several
points are positioned geometrically within
a frame. Placing four dots on a page in the
shape of a square can imply the points
are linked as the mind searches for
recognizable patterns. The direction and
orientation of a line can also imply certain
feelings. Horizontal lines imply tranquility
and rest, whereas vertical lines imply
power and strength. Oblique lines imply
movement, action and change. Curved
lines or S shaped lines imply quiet, calm
and sensual feelings. Lines that converge
imply depth, scale and distance - a fence
or roadway converges into the distance
provides the illusion that a flat two-
dimensional image has three-dimensional
depth. A line is an effective element of
design because it can lead the viewer's
eye. To create more effective photographs
actively look for lines and arrange them
within your viewfinder to invoke specific
feelings.

Shape
Shapes are the result of closed lines.
However shapes can be visible without
lines when an artist establishes a color
area or an arrangement of objects within
the camera's viewfinder. Some primary
shapes include circles, squares, triangles
and hexagons all of which appear in
nature in some form or another. Space is
defined and determined by shapes and
forms. Positive space is where shapes and
forms exist; negative space is the empty
space around shapes and forms. For
images to have a sense of balance
positive and negative space can be used
to counter balance each other.

Form - Light & Dark

Form refers to the three-dimensional
quality of an object, which is due in part
to light, and dark areas. When light from a
single direction (e.g. our sun) hits an
object, part of the object is in shadow.
Light and dark areas within an image
provide contrast that can suggest volume.
Factors that can affect our feelings
towards an image include the direction of
the light source, from above or below, and
the gentleness or abruptness of the half
tones. Light coming from behind a subject
can form a silhouette resulting in object
that is completely black against a lighter
colored background. Silhouettes appear
as two-dimensional shapes lacking form.
The absence of color often enhances our
perception of form for instance in black
and white photographs. Light emitted
from above and to the side when applied
to portraits creates what is often referred
to as "Rembrandt lighting". This form of
lighting emphasizes edges and depth. In
landscape photography oblique lighting
occurs early and late in the day where it
enhances the natural texture of the
landscape and is often accompanied by
warm or cool color casts.

Color
There has been a tremendous amount of
research on how color affects human
beings and some of this research
suggests that men and women may
respond to colors differently. Color affects
us emotionally, with different colors
evoking different emotions. In short color
has the capacity to affect the human
nervous system.

The vocabulary of color includes:

Hue: refers to the names of the primary
colors, red, green and blue.

Value: lightness and darkness of the

color - the amount of white or black
added.

Intensity: the purity or saturation of the

color

Monochromatic color: use of one color

where only the value of the color changes

Analogous colors: colors that are

adjacent to each other on the color wheel,
e.g. yellow and green

Analogous colors next to each other on

the color wheel "get along" and are
referred to as being harmonious.
Analogous colors are often used in visual
design and have a soothing affect.

Complementary colors: colors opposite

to each other on the color wheel, e.g.
Blue-violet and yellow, represent colors
positioned across from each other on the
color wheel. Complimentary colors exhibit
more contrast when positioned adjacent
to each other -for example yellow appears
more intense when positioned on or
beside blue or violet (see picture below).

In the photograph above - green and

yellow are analogous colors that
harmonize where as the violet color of the
shooting stars appears more intense
against a complementary colored
background.

Warm colors include: yellows, red and

orange we associate these with blood, sun
and fire.
Sunrise behind a popular tree at Writing-
on-Stone has a warm fire like feel to it.

Cool colors include: violet, blue and

green because of our association with
snow and ice.

Banff Springs Hotel with light blue filter

 emphasizes the coldness of winter
(Monochromatic color)

Colors are called warm or cool because of

our association with various elements in
our surroundings. Red, yellow and orange
are considered warm colors whereas blue,
green and violet are considered cool
colors. These contrasts are relative since
yellow-green are cool next to red, orange
or yellow, but would be considered warm
next to blue-violet. Photographers can
position different colors in an image to
maximize contrast between them and also
to provide perspective. Perceptually, cool
colors tend to recede into the distance
whereas warm colors appear to advance
(see image below).

Loaf Mountain - warm glow of sunrise

advances where the cool blue shadows
recede.

Texture
Texture refers to the surface quality or
"feel" of an object - smooth, rough, soft,
etc. Textures may be actual (felt with
touch - tactile) or implied (suggested by
the way an artist has created the work of
art -visual). Texture is often emphasized
in oblique lighting as it strikes the objects
from one side.

Composition
Organizing the various elements within
the frame of the viewfinder in order to
create an effective design is more
challenging than it might seem at first. A
painter can position the elements where
they want, whereas a photographer must
search, find and organize visual elements
within the camera viewfinder. Although a
photographer can sometimes "arrange"
objects in a natural environment such as
leaves, this often results in a contrived
looking picture. Nature is not perfect and
variation within organization leads to
greater interest. Effective composition of
natural images is always a balance
between arranging elements within the
view finder and allowing a certain amount
of disorder.

The decision-making processes we make

when taking a photograph starts first with
being able to see possibilities. What we
see depends on what we are interested in,
what we are looking for and what our
minds are prepared to show us. Seeing, in
short, involves the mind and our memory
as much as it does our eyes. Improving
our visual sensitivity requires quieting our
minds, relaxing, and preparing by learning
as much as we can about our preferred
subjects. Once we see things that are of
interest, then we need to isolate parts of
the scene, and organize the important
visual elements within our viewfinder to
effectively convey how we feel about
them.

Unity
Unity refers to an ordering of all elements
in an image so that each contributes to a
unified aesthetic effect so that the image
is seen as a whole. Failing to accomplish
this results in the premature termination
of the viewer's experience - they look
away. There are a number of ways to
achieve unity to attract and keep the
viewers attention.
Dominance and Subordination:
An artist or photographer attempts to
control the sequence in which visual
events in the frame are observed and the
amount of attention each element
receives. Making an element dominant
can be done through size and color. Large
objects dominate smaller ones and warm
colored objects dominate cooler pale
colored objects. Another way of achieving
dominance is through positioning various
elements within the frame. A centrally
located object will draw more attention
then one at the periphery. However the
center is not the best place to position the
most dominant element - usually just to
one side of the center is more effective.

Another method to achieve dominance is

through convergence or radiation or lines.
The eye tends to follow these lines to the
point where they converge.

Veins on this leaf converge at a single

 point making it the dominant element in
the image.

Dominance can also be achieved through

nonconformity i.e. difference or exception.
If all the elements are similar and one is
different in color, tone or shape- it will
stand out and become dominant. The
brown cattail leaf below is dominant
because it is different from those around
it.

Coherence
Coherence refers to the belonging
together or the various parts of the
artwork. In reality these parts may be
unrelated, but within the confines of the
image their color, shapes, and size form a
sense of unity. Visual coherence can be
achieved through the use of analogous
color and color tonality. It can also be
achieve through similarity of shape, color
size or texture. However too much
similarity can lead to boredom - we need
some variety to add "spice" to the image.

This image of smooth stones uses

similarity in shape, size and colors to
provide coherence.

Balance
Balance implies that the visual elements
within the frame have a sense of weight.
Large objects generally weigh more than
small objects and dark objects weigh
more than light colored objects. The
position of the elements is also critical.
We unconsciously assume the center of a
picture corresponds to a fulcrum. A heavy
weight on one side can be balanced by a
lighter weight on the other side if the
lighter weight is located at a greater
distance from the fulcrum.
Another way to achieve balance is
through symmetry. Reflections of the
landscape in still water are an example of
almost perfect symmetry. Reflections can
take on an abstract quality that resembles
a Rorschach inkblot used in a
psychological testing.

Rorschach inkblot created by folding a piece of

paper coveredand filled with ink to form a
symmetrical pattern.
Positive and Negative Space
Positive space is where shapes and forms
exist; negative space is the empty space
around shapes and forms. In the photo
below the black area is negative space
and it serves to balance the area in which
the marmot and rock occupy. Areas of a
picture that contain "nothing" are
important visual elements that provide
balance in an image.

Rhythm
Rhythm refers to the regular repeating
occurrence of elements in the scene just
as in music it refers to the regular
occurrence of certain musical notes over
time. In photography the repetition of
similar shapes sets up a rhythm that
makes seeing easier and more enjoyable.
Rhythm is soothing and our eyes beg to
follow rhythmic patterns. To be effective,
rhythm also requires some variability -
rhythm that is too similar or perfect may
be boring. Therefore when composing
your images look for repetition with
variation. For instance if you are
photographing a fence - one that is
perfect will not hold a viewers interest for
long, but one in which some of the posts
are bent, broken, larger or smaller will
generate more viewer interest.

Differences in the height of the fence

posts add interest to an otherwise
monotonic rhythm.
The yellow marigold is balanced by the
negative space of the complimentary
colored blue sky.

Proportion - Golden Ratio and Rule of

Thirds
Proportion refers the size relationship of
visual elements to each other and to the
whole picture. One of the reasons
proportion is often considered important
in composition is that viewers respond to
it emotionally. Proportion in art has been
examined for hundreds of years, long
before photography was invented. One
proportion that is often cited as occurring
frequently in design is the Golden mean
or Golden ratio.

Golden Ratio: 1, 1, 2, 3, 5, 8, 13, 21, 34 etc.

Each succeeding number after 1 is equal to the
sum of the two preceding numbers. The Ratio
formed 1:1.618 is called the golden mean - the
ratio of bc to ab is the same as ab to ac. If you
divide each smaller window again with the
same ratio and joing their corners you end up
with a logarithmic spiral. This spiral is a motif
found frequently throughout nature in shells,
horns and flowers (and my Science & Art logo).

The Golden Mean or Phi occurs

frequently in nature and it may
be that humans are genetically
programmed to recognize the
ratio as being pleasing. Studies
of top fashion models revealed
that their faces have an
abundance of the 1.618 ratio.

Many photographers and artists are aware

of the rule of thirds, where a picture is
divided into three sections vertically and
horizontally and lines and points of
intersection represent places to position
important visual elements. The golden
ratio and its application are similar
although the golden ratio is not as well
known and its' points of intersection are
closer together. Moving a horizon in a
landscape to the position of one third is
 often more effective than placing it in the
middle, but it could also be placed near
the bottom one quarter or sixth. There is
nothing obligatory about applying the rule
of thirds. In placing visual elements for
effective composition, one must assess
many factors including color, dominance,
size and balance together with proportion.
Often a certain amount of imbalance or
tension can make an image more
effective. This is where we come to the
artists' intuition and feelings about their
subject. Each of us is unique and we
should strive to preserve those feelings
and impressions about our chosen subject
that are different.

Rule of thirds grid applied to a Golden mean grid applied a simple

landscape composition

On analyzing some of my favorite

photographs by laying down grids (thirds
or golden ratio in Adobe Photoshop) I find
that some of my images do indeed seem
to correspond to the rule of thirds and to a
lesser extent the golden ratio, however
many do not. I suspect an analysis of
other photographers' images would have
similar results. There are a few web sites
and references to scientific studies that
have studied proportion in art and
photography but I have not come across
any systematic studies that quantified
their results- maybe I just need to look
harder (see link for more information
about the use of the golden ratio
http://photoinf.com/Golden_Mean/).

In summary, proportion is an element of

design you should always be aware of but
you must also realize that other design
factors along with your own unique
sensitivity about the subject dictates
where you should place items in the
viewfinder. Understanding proportion and
various elements of design are guidelines
only and you should always follow your
instincts combined with your knowledge.
Never be afraid to experiment and try
something drastically different, and learn
from both your successes and failures.
Also try to be open minded about new
ways of taking pictures, new techniques,
ideas - surround yourself with others that
share an open mind and enthusiasm and
you will improve your compositional skills
quickly.
35 mm film has the dimensions 36 mm by
24 mm (3:2 ratio) - golden mean ration of
1.6 to 1 Points of intersection are
recommended as places to position
important elements in your picture.

Chaos - Simplicity versus complexity.

Chaos is a disordered state of elements
and it is found frequently in nature. The
goal of many photographers is to take a
picture that exhibits some underlying
organization so the viewer sees what the
artists intends for them to see, but leaves
enough chaos within the frame of the
image so the viewer has to put forth some
effort to explore and fully appreciate the
image. New photographers often include
too many elements in their images and
can often improve their composition by
removing unessential elements. Beyond a
certain point, however an image that is
too simple fails to hold ones attention
(e.g. single leaf above has interesting
elements but after a few moments I find
little to hold my attention). Compare this
to an image I took with my 4 x 5 camera
of the rainforest shot below, and I find the
rainforest image has so many textures
and patterns that I can look at and
explore the image for extended periods of
time and still continue to discover things I
have not seen before. The ability to
introduce and handle complex elements
within the frame of an image and still
produce an effective composition requires
a maturation of seeing that takes time to
develop. I have also found that larger film
formats encourage compositions with
more detail and complexity then using
smaller digital and 35 mm film based
cameras. In short, the size and format of
camera you use will also influence what
you shoot, and how you compose your
images.
Summary & Conclusion
Understanding elements of visual design
and how they can affect our emotions can
also help us make our photographic
images more effective. However, keep in
mind that no rule or guideline can ever
guarantee success. A successful image
depends upon a multitude of things that
must come together including: timing,
lighting, color, composition, and an
audience sensitive to what it is you are
trying to communicate. It is likely that
many artists carry out design intuitively
and arrange elements so they "feel right"
and since art is in part a way of
expressing our feelings to others no other
guiding principle may be required. As
Freeman Patterson put it so eloquently
"Good composition is always harmonious
with the design of the material being
photographed", Art of Seeing 1985.
Elements of design can be compared to
the scales in music, they are starting
points around which music is made but
the elements are by themselves only
building blocks. In conclusion, an
understanding of the elements of design
will not by themselves make you a better
a photographer, but they can provide a
framework in which to evaluate images
and their effectiveness.

Another way to improve composition is to

compare your images with those of others
whose work you admire or respect.
Mimicry is one way to begin to develop
your skills and learning to copy the styles
of certain artists is in part the road to
towards developing your own style,
although many artists may not admit to it.
Take those stylistic elements you like and
then integrate them into your own point of
view. Evaluate and compare your work
both technically and aesthetically against
those of other photographers. Be realistic
and critical when you evaluate your own
images and edit your images ruthlessly.
The better you become the more critical
you will become of you own work and
those of others. Listen to what others
have to say when they view your images,
what they like, what they don't like but
always be true to yourself and what your
vision is. My wife may not be
knowledgeable about design, but if she
responds to image I know others will too.

One method to measure your success is

when others wish to own or purchase your
work. If you don't have to sell your
photography to pay the rent or eat - you
have a freedom that many professional
photographers do not. You can take
photographs for the sheer joy of it.

References
1. E. D. Feldman (1987) Varieties of
Visual Experience, Harry Abrams,
Inc. New York. Part three the
structure of Art. ISBN 0-8109-1735-
1
2. Z. Szabaro (1986) Landscape
Painting in Water Color, Stoddart
Publishing company, Ltd. Toronto,
ISBN 0-7737-2074-X
3. F. Patterson (1994) Photographing
the World Around You, Quebecor
Printing Inc., ISBN-1-55013-590-2.
4. F. Patterson (1977) Photography for
the Joy of it. Van Nostrand Co. New
York, ISBN 0-442-29883-8.

Cool colors are blues and greens and everything

inbetween. These colors have a calming effect
and represent comfort and nuturing. Purple, even
though it contains the hot color red, is also
considered a cool color. Cool colors give off a
quiet feeling that can make a person feel more
relaxed and restful.
Most cool colors will appear smaller than warm
colors. Since these cool colors tend to reced,
using them in the background of a design works
well. When selecting the colors for your webpage,
learning more about cool and warm colors can be
beneficial. Cool colors can create a clear and crisp
web design that gives a calming effect on the
viewer. Visitors to any website will feel the affects
of the colors used in the design. Colors can cause
many emotions to rise and using specific colors on
your webpage can help you control a viewers
emotional state. Cool colors used on a website are
the most often used since more people seem to
enjoy the feeling of calmness. This makes the site
appear easier to read which means the visitor is
more likely to visit your site for a longer period of
time.
Often visitors to websites will decide whether a
site is a good site or a bad site simply by how the
colors make them feel. Using simple cool colors
often will help in the design of your site. Don't
forget to use white on your site. This helps in
readability and will keep the site from feeling
cluttered. When a visitor feels overwhelmed from
too much color, they are less likely to stick around.
The color of green gives off the feeling of healing,
growth, youth and freshness. Adding the cool color
of blue will add calmness and quality. Blue is the
most used color on the net because of it's abilitly
to promote wisdom and reassurance.
Color is a powerful tool when it comes to design.
Whether selecting the color scheme for your home
or your website, you can choose the mood it
provokes. Depending on the mood your looking for
or the product you wish to sell, choosing cool
colors will provide a calming effect while warm
colors such as hot red and stunning orange evoke
energy and urgency. Warm colors are often used
to get attention. Use these colors sparingly to keep
the cool and relaxing feeling to your cool color
page.
 What colors are warm? cool?
The following chart displays the difference between warm
and cool colors.

Warm colors are based on yellows, oranges, browns,

yellowish greens, orangish reds, and the like.

Cool colors are based on blues, greens, pinks, purples,

blue-greens, magentas, and blue-based reds.

This simple chart will help you to determine what colors

are what, once you learn the basic differences between
warm and cool color tones.

Once you have a basic understanding, you can then

differentiate between for example, a "warm pink" and a
"cool pink". A warm pink is a peachy pink. A cool pink
would be a purplish pink. A warm green would be a
yellowish green. A cool green would be more blue.

A warm toned foundation powder is more yellow based. A

cool toned one is more pink.

When you hear someone say "I am an autumn" or "I am

a spring", this means that they look best in warm tones.
In contrast, "summers" and "winters" look best in cool
tones. (this is based on the Color Me Beautiful method of
skin typing).

Looking at blushes? As a rule, any blush with a brown or

peach undertone is warm. Any blush with a purple or pink
undertone is cool. Some colors can work for both
skintones, such as a peachy pink or a pinkish brown. This
is why we offer samples, so you can try before you buy
full sizes.

Keep in mind that computer monitors all vary in how they

 display colors. The best best is to try a few samples and
see how they compare. We offer samples of all of our
loose powder cosmetic line.

If you do not know your skintone, you can estimate

it by referring to the following chart:

Cool: Eyes are typically blue or grey. Haircolor typically

blonde, brown or black. Skin has definite blue and pinkish
undertones. Cool-toned people look best in colors such as
blue, red, pink and purple, or "gem-tones". Usually look
best in silver jewelry. In natural light, the color of the
veins on the underside of your wrist are bluish. You can
wear a white shirt and it is flattering on you.

Neutral: Eyes may be any color. Hair may be any color.

Skin has unspecifiable undertones, such as pink, olive or
yellow. Those with neutral coloring can wear just about
any color clothing and look good. Can wear gold or silver
jewelry (no preference as to which looks better)

Warm: Eyes are typically brown, green or hazel.

Haircolor typically brown, black, red, auburn, blonde or
strawberry blonde. Skin has yellow/orange or olive
undertones. Warm-toned people look best in earthy-toned
clothing, such as browns, yellows, oranges, yellowish
green and ecru. Look best in gold jewelry. In natural
light, the color of the veins on the underside of your wrist
are greenish. You are most flattered by an off-white,
cream or ecru shirt (i.e. pure white makes you look
washed out)